Most of the group's early music videos were directed by Clive Richardson and Peter Care. Following the time with Richardson and Care, Depeche Mode developed a working relationship with award-winning director and photographer Anton Corbijn, who has directed the majority of their videos since. The group's concert video Devotional was nominated for "Best Long Form Music Video" at the 37th Grammy Awards in 1995.[1]

1.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them

2.
Music video
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A music video is a short film integrating a song and imagery, produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are also cases where songs are used in tie in marketing campaigns that allow them to more than just a song. Tie ins and merchandising could be used in toys or marketing campaigns for food, although the origins of music videos date back to musical short films that first appeared in the 1920s, they came into prominence in the 1980s when MTV based their format around the medium. Prior to the 1980s, these works were described by terms including illustrated song, filmed insert, promotional film, promotional clip, promotional video, song video. Music videos use a range of styles of contemporary videomaking techniques, including animation, live action filming, documentaries. Some music videos blend different styles, such as animation, music, combining these styles and techniques has become more popular because of the variation it presents to the audience. Many music videos interpret images and scenes from the songs lyrics, other music videos may be without a set concept, being merely a filmed version of the songs live performance. Product placement is a technique in music videos, exemplified by the appearance of the Beats Pill in numerous hip hop videos. In 1894, sheet music publishers Edward B, marks and Joe Stern hired electrician George Thomas and various performers to promote sales of their song The Little Lost Child. Using a magic lantern, Thomas projected a series of images on a screen simultaneous to live performances. This would become a form of entertainment known as the illustrated song. In 1926, with the arrival of many musical short films were produced. Vitaphone shorts featured many bands, vocalists and dancers, early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, the Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such performers as Cab Calloway, were also distributed to theaters. Blues singer Bessie Smith appeared in a short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period, soundies, produced and released from 1940 to 1947, were musical films that often included short dance sequences, similar to later music videos

3.
Grammy Award for Best Music Film
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The category was preceded by the Grammy Award for Video of the Year, which was presented in 1982 and 1983, awarding long form videos in the budding music video market. The category was discontinued after 1983, the Best Music Film category is for concert/performance films or music documentaries. The eligibility rules have changed slightly over the years, music-related documentaries with a preponderance of performance-based material. While dramatic feature films and biopics are not eligible, films with fictional elements are eligible, the Best Music Film category is one of two categories in the Best Music Video/Film Field. The other one is Best Music Video, which recognises stand-alone videos of one song or performance. Artists who are the focus of nominated films may not always be eligible for a Grammy themselves, depending on the type of film, the awards were returned to the original format in 1990. Except in 1988 and 1989, the Grammy Award for Best Long Form Music Video recipients include the artists, directors, and producers associated with the winning videos. Singers Madonna and Sting hold the record for the most wins as a performer in this category, however, in two instances, The Beatles were not recognized as individual winners. To date, three won the award twice, David Mallet, Jonas Akerlund and Bob Smeaton. The British pop rock group Eurythmics holds the record for the most nominations as a performer without a win, in 1984 and 1985, only the artists were presented with an award. In 1986 the award went to the artist and the video director, from 1987 onwards, the award has been presented to the artist, video director and video producer. ^ Each year is linked to the article about the Grammy Awards held that year. ^ Director are only indicated if they were presented a Grammy Award. ^ Award was not presented, Music video categories presented that year included Best Concept Music Video and Best Performance Music Video

4.
Reprise Records
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Reprise Records /rəˈpriz/ is an American major record label, founded in 1960 by Frank Sinatra. It was mostly inactive from 1976 to 1987 and it is owned by Warner Music Group, and operates through Warner Bros. Reprise Records was formed in 1960 by Frank Sinatra in order to more artistic freedom for his own recordings. Hence, he garnered the nickname The Chairman of the Board, having left Capitol/EMI, and after trying to buy Norman Granzs Verve Records, the first album Sinatra released on Reprise was Ring-a-Ding-Ding. As CEO of Reprise, Sinatra recruited several artists for the label, such as fellow Rat Pack members Dean Martin and Sammy Davis. The original roster from 1961 to 1963 included Bing Crosby, Jo Stafford, Rosemary Clooney, Nancy Sinatra, Esquivel, the label still issues any Sinatra work recorded while on the label and, after his death in 1998, it had great success with his greatest hits collections. One of the founding principles under Sinatras leadership was that each artist would have full creative freedom. This is the reason why recordings of early Reprise artists are distributed through other labels. In Martins case, his Reprise recordings were out of print for nearly 20 years before a deal was struck with Capitol Records, in 1963, as part of a film deal, Warner Bros. purchased Reprise from Sinatra, who nonetheless retained a 20% interest in the label. Many of the artists on the label were dropped by Warner Bros. Reprise president Mo Ostin was retained as the head of the label, warner-Reprise executives began targeting younger acts, beginning by securing the American distribution rights to the Pye Records recordings by the Kinks in 1964. Reprise would soon add teen-oriented pop acts like Dino, Desi & Billy to the roster, as well, Franks own daughter Nancy Sinatra would be retained by Ostin, becoming a major pop star starting in late 1965. The label moved almost exclusively to rock-oriented music in the late 1960s, rex, the Meters, John Cale, Gordon Lightfoot, Michael Franks, Richard Pryor, Al Jarreau, Fleetwood Mac, Fanny, and the Beach Boys. In 1976, the Reprise label was deactivated by Warner Bros. an unconfirmed explanation for this move is that Sinatra wanted to be the only artist on Reprise, and Young is said to have been the only Reprise act who refused to agree to a change in labels. In late 1985, some copies of the Dream Academys hit single Life in a Northern Town were pressed with Warner Bros. labels bearing a Reprise logo,1986 saw releases bearing Reprise labels from the Dream Academy as well as Dwight Yoakam. Vice President of Promotion Rich Fitzgerald was appointed as label Vice-President and it was formerly home to the Jimi Hendrix and the Barenaked Ladies catalogs in the U. S. When the Bee Gees back catalog was remastered by Rhino Records in the 2000s, neil Young stated in a documentary about his life that Marilyn Manson was turned down by Reprise. In September 2011, several took place at Reprise Records

5.
Depeche Mode
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Depeche Mode /dᵻˌpɛʃˈmoʊd/ are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan, Martin Gore, Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke, left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the songwriting duties and, later in 1982, Alan Wilder officially joined the band to fill Clarkes spot. Depeche Mode have been a trio again since 1995, when Wilder left, the bands last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force on the mainstream electronic music scene. A highlight of this era was the concert at the Pasadena Rose Bowl. In the new decade, Depeche Mode released Violator, a mainstream success, now a trio once again, the band released Ultra in 1997, recorded at the height of Gahans near-fatal drug abuse, Gores alcoholism and seizures, and Fletchers depression. Depeche Mode have had 50 songs in the UK Singles Chart and thirteen top 10 albums in the UK chart, Q included the band in the list of the 50 Bands That Changed the World. Depeche Mode also rank number 98 on VH1s 100 Greatest Artists of All Time, Depeche Modes origins date to 1977, when schoolmates Vince Clarke and Andy Fletcher formed a Cure-influenced band called No Romance In China, with Clarke on vocals and guitar and Fletcher on bass. Fletcher would later recall, Why am I in the band and it was accidental right from the beginning. I was actually forced to be in the band, I played the guitar and I had a bass, it was a question of them roping me in. In 1979, Clarke played guitar in an Ultravox rip-off band, in 1978–79, Martin Gore played guitar in an acoustic duo, Norman and the Worms, with school friend Phil Burdett on vocals. In 1979, Marlow, Gore and friend Paul Redmond formed a band called the French Look, with Marlow on vocals/keyboards, Gore on guitar and Redmond on keyboards. In March 1980, Clarke, Gore and Fletcher formed a band called Composition of Sound, with Clarke on vocals/guitar, Gore on keyboards and Fletcher on bass. Soon after the formation of Composition of Sound, Clarke heard Wirral band Orchestral Manoeuvres in the Dark, along with OMD, other early influences included the Human League, Daniel Miller and Fad Gadget. Clarke and Fletcher switched to synthesisers, working odd jobs in order to buy or borrow the instruments from friends. Dave Gahan joined the band in 1980 after Clarke heard him perform at a scout hut jam session, singing a rendition of David Bowies Heroes. When explaining the choice for the new name taken from a French fashion magazine, Dépêche mode, Gore said, I like the sound of that

6.
Anton Corbijn
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Anton Johannes Gerrit Corbijn van Willenswaard is a Dutch photographer, music video director, and film director. He is the director behind the visual output of Depeche Mode and U2, having handled the principal promotion. Anton Johannes Gerrit Corbijn van Willenswaard was born on 20 May 1955 in Strijen in the Netherlands and his father, Anton Corbijn van Willenswaard, took up the same position in Hoogland and Groningen, moving his wife and four children with him. His mother, Marietje Groeneboer, was a nurse and was raised in a parsons family, photographer and director Maarten Corbijn is a younger brother. Grandfather Anton Johannes van Willenswaard was an art teacher at Christian schools in Hilversum, Corbijn began his career as a music photographer when he saw the Dutch musician Herman Brood playing in a café in Groningen around 1975. He took a lot of photographs of the band Herman Brood & His Wild Romance, from the late 1970s the London-based New Musical Express, a weekly music paper, featured his work on a regular basis and would often have a photograph by him on the front page. One such occasion was a portrait of David Bowie wearing a loincloth backstage in New York when starring in The Elephant Man, in the early years of London-based The Face, a glossy monthly post-punk life style / music magazine, Corbijn was a regular contributor. He made his name photographing in black-and-white but in May 1989 he began taking pictures in colour using filters and his first venture in this medium was for Siouxsie Sioux. Other album covers featuring work by Corbijn include those for Springsteen, Nick Cave, Siouxsies second band The Creatures, Bryan Adams, Metallica, the Rolling Stones, Bon Jovi, The Killers, Simple Minds, R. E. M. The Bee Gees, Saybia and Moke, Corbijn began his music video directing career when Palais Schaumburg asked him to direct a video. After seeing the video for Hockey, the band Propaganda had Corbijn direct Dr. Mabuse. After that he directed videos for David Sylvian, Echo & the Bunnymen, Golden Earring, Front 242, Depeche Mode, Roxette and his first video in colour was made for U2 in 1984 for their single Pride. In 2005 Palm Pictures released a DVD collection of Corbijns music video output as part of the Directors Label series, in 1994 Corbijn directed a short film about Captain Beefheart/Don Van Vliet for the BBC called Some Yoyo Stuff. He made his film debut with Control, a film about the life of Joy Division frontman Ian Curtis. It premiered to rave reviews at the Cannes Film Festival on 17 May 2007, the film is based on Deborah Curtis book Touching from a Distance about her late husband and the biography Torn Apart by Lindsay Reade and Mick Middles. 2010 Corbijn returned as a director with the character-based thriller The American, on 26 October 2011 Corbijn directed a webcast by Coldplay from the Plaza de Toros de Las Ventas in Madrid, Spain. His film A Most Wanted Man was released in 2014, the John le Carré novel of the same name, which is loosely based on the true War on Terror story of Murat Kurnaz, was set in part in Hamburg, as parts of the movie were. In February 2014, he start filming his next project Life about James Dean, author William Gibson refers to a fictitious portrait by Corbijn of the character Hollis Henry in his 2007 novel Spook Country

7.
Just Can't Get Enough (Depeche Mode song)
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Just Cant Get Enough is a song by the English electronic music band Depeche Mode. It was released in September 1981 as the single from their debut album, Speak. It was recorded during the summer of year at Blackwing Studios. A riff-driven synthpop song, Just Cant Get Enough was the single to be written by founding member Vince Clarke. The single version of Just Cant Get Enough is the version that appears on the UK version of Speak. The 12 single featured a Schizo Mix, which is a version with additional synth parts adding a sinister feel to the track. This version appears on the US version of Speak and Spell, the UK re-release of Speak and Spell, in addition, the singles B-side, Any Second Now, was the first commercially available Depeche Mode instrumental. It shows up on the UK rerelease of Speak and Spell, a version including vocals appeared on the album as Any Second Now. There is also a version, the Altered Mix. In the United States, the B-side is Tora, on the album, the song is crossfaded with the previous track, Photographic, but on the single, the introduction is clean. The single reached number 8 on the UK Singles Chart and number 26 on the US Hot Dance Club Play chart and it also became the bands first hit in Australia, reaching number 4. Due to Vince Clarkes songwriting, the song has a bubbly, upbeat feel that stands in contrast to the darker, Just Cant Get Enough was the first Depeche Mode song to get a music video. It is the only Depeche Mode video with Vince Clarke, Tora. –4,17 Notes 1, CD released in 19882, CD released in 1991 All songs written by Vince Clarke except for Tora. Australian alternative rock band Tlot Tlot have covered the song twice, first on their live album The Live Set - Volume 1 in 1993, in 1997, happy hardcore DJ duo Charly Lownoise and Mental Theo covered the song as a single. The music mix being done by the Dust Brothers, on 7 October 1999, The Tonight Show with Jay Leno did a parody of the ad, which featured old men singing the song for a fictional Viagra ad. In 2004, French band Nouvelle Vague adapted the song in a style on the album. Japanese musician Anna Tsuchiya covered the song on her 2007 single Kuroi Namida, in 2008, Mika performed a cover of the song for his Live Parc des Princes Paris concert. In 2011, German rockabilly band Dick Brave & The Backbeats covered the song on the album RocknRoll Therapy, on 14 February 2013 the song was performed on Glee by Kurt and Blaine

8.
Personal Jesus
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Personal Jesus is a song by the English electronic band Depeche Mode, released on 28 August 1989 as the lead single from their seventh album, Violator. The single reached No.13 on the UK Singles Chart, the song was the first single to make the US Top 40 for the band since their 1984 single People Are People and was their first gold-certified single in the US. In Germany, the single is one of the bands longest-charting songs, Personal Jesus was re-released as a single on 30 May 2011 for the new Depeche Mode remix album Remixes 2, 81–11, with the leading remix by the production team Stargate. The song was inspired by the book Elvis and Me by Priscilla Presley, according to songwriter Martin Gore, Its a song about being a Jesus for somebody else, someone to give you hope and care. Personal Jesus is written in the key of F♯ minor with a tempo of 130 beats per minute in 128 time, in mid-1989, the band began recording in Milan with record producer Flood. The result of session was the single Personal Jesus, which featured a catchy bluesy riff and drum-based sound. The song became a big hit across the world, and is one of Depeche Modes most successful songs, although not the first Depeche Mode song to feature guitar parts, it was the first time a guitar was used as a dominant instrument in a Depeche Mode song. Prior to its release, advertisements were placed in the columns of regional newspapers in the UK with the words Your own personal Jesus. Later, the ads included a number one could dial to hear the song. The ensuing controversy helped propel the single to No.13 on the UK charts, the single was particularly successful commercially thanks to the fact that it was released six months prior to the album it would later appear on. Up to that point, it was the best selling 12 single in Warner Brothers history, Personal Jesus had a plethora of remixes, almost unprecedented for Depeche Mode at the time. The Hazchemix and Hazchemix Edit of Dangerous were mixed by Daniel Miller, the back-cover of Personal Jesus features one of the band members and the back-side of a naked woman. The band member she is with depends on whether it is the 7 Vinyl, the 12 Vinyl, on some copies she does not appear at all, such as the 2004 CD re-release, and on promo copies. On some limited releases, like the GBong17, all four photos are available plus one photo of the full group. The Anton Corbijn-directed music video for Personal Jesus is his first Depeche Mode video in colour, MTV edited out some suggestive mouth movements of Martin Gore during the bridge and replaced it with some other footage from the video. All songs written by Martin Gore, the digital single was released in the UK on 18 April 2011. It was released a day later in the US, frusciante plays guitar on the track, along with Tom Petty & The Heartbreakers guitarist Mike Campbell. It appears as the B-side to another cover, Nine Inch Nails Hurt, marilyn Mansons 2004 cover version of Personal Jesus appears on the bands best-of compilation, Lest We Forget, The Best Of, and was that albums lead single

9.
Mute Records
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Mute Records is a British record label owned and founded in 1978 by Daniel Miller. It featured several prominent musical acts on its roster such as Depeche Mode, Erasure, Fad Gadget, Goldfrapp, Grinderman, Inspiral Carpets, Moby, New Order, Nitzer Ebb, Wire, Yeasayer, and Yazoo. During 1978, Daniel Miller began recording music using synthesisers under the name The Normal and he recorded the tracks T. V. O. D. and Warm Leatherette, and distributed them through Rough Trade Shops under the label name Mute Records. The label was formed initially just to release the one single, T. V. O. D. /Warm Leatherette became a cult hit ensuring the future of the label. Warm Leatherette was later covered by Grace Jones and Chicks on Speed, after meeting Robert Rental, Miller began recording and playing live as Robert Rental & The Normal. In 1979 the band went on tour supporting the punk band Stiff Little Fingers, in 1980, Miller released the single, Kebab-Träume, by the German band Deutsch Amerikanische Freundschaft, who had recently moved to London. The bands 1980 album, Die Kleinen und die Bösen, was the first album released by the new label, the album had the catalogue prefix STUMM, a play on the record labels name, meaning mute in German. This prefix would continue to be used through most of the labels album catalogue, also in 1980, Miller recorded and released the cover single, Memphis Tennessee, under the name Silicon Teens. The band was Miller’s realisation of a dream Mute Records group, in mid-1980, Mute Records released the Silicon Teens album, titled Music For Parties. Around this time the artist Fad Gadget had begun recording new demos and this was released as a single in 1980, followed by the next single Rickys Hand and the album Fireside Favourites recorded at Blackwing Studios. September 1980 saw the release of the double-holed, multi-speed 7 single by Non & Smegma, Boyd Rice went on to release several more recordings with Mute Records. After touring with Daniel Miller as Robert Rental & The Normal, Robert Rental released his only Mute Records single, Double Heart, a rare, remaining trace of this late electronic music pioneer. Miller approached Depeche Mode in 1980, after seeing them perform in London, wanting them to record a single for his label and their loyalty to Mute was reciprocated by the label’s rapid expansion to cope with their success. In defiance of the recording labels predictions of failure, Depeche Mode became a successful charting band worldwide. The bands consistency was unbroken even by the departure of principal songwriter Vince Clarke, Martin Gore took over the main songwriting role, opening the band up to different influences and sustaining their creativity as a band. Mute continued to other experimental artists, such as NON, releasing an album of Boyd Rices pre-NON recordings. 1982 began with the release of the 12-inch single, Rise, by Boyd Rice, Fad Gadget released his third album for the label, titled Under the Flag, influenced by the current Falklands War and the feeling of being British in the most unseemly of times. The album spawned the singles For Whom the Bells Toll and Life on the Line, Mute Records big commercial success of 1982 was the band Yazoo, the duo of Vince Clarke and Alison Moyet

10.
Everything Counts
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Everything Counts is a 1983 single by the electronic band Depeche Mode from the album Construction Time Again. The single was re-released on 13 February 1989 to support the live album 101, the single introduced a transition in lyrical content for the group. Everything Counts specifically addresses the issue of corporate greed and corruption during the 1980s Britain, perhaps surprisingly, the single was released at a time when the band itself was not under a formal contract with Mute Records. In addition to found sounds used as samples, the single samples a variety of musical instruments, such as the xylophone. It was also the first song in the catalogue which includes both of the bands singers prominently. Lead singer Dave Gahan sings the vocals on the verses. When the song has performed live, the chorus has been sung by all of the bands musicians except Gahan. The song would quickly catch on as a fan favourite at the bands concerts, and was used as the opening song for the Construction Time Again tour. During the Music for the Masses Tour, the band used Everything Counts as the encore and in 1989. All live tracks from the release were recorded on 18 June 1988 at the Pasadena Rose Bowl during the performance of the aforementioned Music for the Masses Tour. This version of the song is famous for the recording of the crowd continuing to sing the chorus long after the music had stopped and it also appears in Devotional as the closer. It was played during the first two legs of Touring the Angel in the first encore, and also appears on the Touring the Angel, Everything Counts was also remixed and re-released in 2006. The Oliver Huntemann & Stephan Bodzin Dub is featured on the limited release of the single Martyr. An unreleased Oliver Huntemann & Stephan Bodzin remix contains more vocal parts from the original version, the music video for Everything Counts was directed by Clive Richardson in West Berlin. The band returned to Richardson after not being satisfied with the work of Julien Temple for the A Broken Frame singles, Richardson had previously directed the video for Just Cant Get Enough two years earlier. According to Alan Wilder, It was felt that after the Julien Temple years, we needed to harden up not only our sound, Clive had lots of new ideas which didnt involve stupid storyboards where we were required to act. In the original video, the xylophone, the melodica, and the shawm are played by Alan Wilder, Martin Gore. The shawm, however, is produced by a synthesizer on the studio recording, in this video, frontman Dave Gahan for the first time appeared blonde-haired, losing his natural black colour of hair

"Two-tone orange" label used by Reprise during the Warner Bros.-Seven Arts merger from 1968 to 1969. (Label to Jimi Hendrix's Smash Hits.) After the Kinney National Company took over Warner Bros. in 1969, the orange tone at the top of the label was changed to the same tone as on the rest of the label, the W7 box logo was removed and the circled :r logo became a boxed logo without the "Reprise" designation.

Red label, used by Reprise throughout the late 1970s. (Label to Neil Young's Decade.)